used before a singular noun to mean one of a group, when it is not a particular one
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
(followed by “to”) in agreement with or accordant with
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
presently existing in fact and not merely potential or possible
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
the form of “a” used before a word that begins with a vowel sound
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
used to join words or parts of a sentence that go together
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
areauxiliary verbUS /ɑːr/
the form of “be” used with you, we, they, or a plural noun
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
disposed or placed in a particular kind of order
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
artistsnounUS /ˈɑːrtɪsts/
plural of “artist” — a person whose creative work shows sensitivity and imagination
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
at the same time that; because; in the way that
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
balancedadjectiveUS /ˈbælənst/
being in a state of proper equilibrium
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
used with a past participle to form the passive, or with -ing for continuous tenses
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
the qualities that give pleasure to the senses
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
beenauxiliary verbUS /bɪn/
the past participle of “be”
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
beingauxiliary verbUS /ˈbiːɪŋ/
the -ing form of “be”
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
(used of soaps or cleaning agents) having a substance (an abrasive or filler) added to increase effectiveness
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
used to introduce something that contrasts with what came before
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
showing who or what does the action
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
assign a specified (usually proper) proper name to
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
a period of 100 years
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
chaptersnounUS /ˈtʃæptərz/
plural of “chapter” — a subdivision of a written work; usually numbered and titled
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
CLASSICnounUS /ˈklæsɪk/
a creation of the highest excellence
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
compositionnounUS /ˌkɑːmpəˈzɪʃən/
the spatial property resulting from the arrangement of parts in relation to each other and to the whole
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
carefully weighed
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
contrastnounUS /ˈkɑːntræst/
the opposition or dissimilarity of things that are compared
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
conventionnounUS /kənˈvenʃən/
a large formal assembly
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
conventionaladjectiveUS /kənˈvenʃənəl/
following accepted customs and proprieties
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
displaynounUS /dɪˈspleɪ/
something intended to communicate a particular impression
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
(used of persons) standing above others in character or attainment or reputation
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
a phenomenon that follows and is caused by some previous phenomenon
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
to a distinctly greater extent or degree than is common
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
examplesnounUS /ɪɡˈzæmpəlz/
plural of “example” — an item of information that is typical of a class or group
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
plural of “figure” — a diagram or picture illustrating textual material
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
finestadjectiveUS /ˈfaɪnəst/
superlative of “fine” — being satisfactory or in satisfactory condition
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
formaladjectiveUS /ˈfɔːrməl/
being in accord with established forms and conventions and requirements (as e.g. of formal dress)
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
formulanounUS /ˈfɔːrmjələ/
a group of symbols that make a mathematical statement
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
showing where something starts, or who sent it
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
geometricadjectiveUS /ˌdʒiːəˈmetrɪk/
characterized by simple geometric forms in design and decoration
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
grandeurnounUS /ɡrænˈduːr/
the quality of being magnificent or splendid or grand
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
relatively large in size or number or extent; larger than others of its kind
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
hasauxiliary verbUS /hæz/
the form of “have” used with he, she, it, or a singular noun
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
haveauxiliary verbUS /hæv/
used with a past participle to form the perfect tenses
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
how
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
the content of cognition; the main thing you are thinking about
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
impressivenessnoun
splendid or imposing in size or appearance
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
inside something, or within a place, period, or state
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
inventionnounUS /ˌɪnˈvenʃən/
the creation of something in the mind
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
the form of “be” used with he, she, it, or a singular noun
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
a thing, animal, or idea already mentioned
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
a native or inhabitant of Italy
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
LANDSCAPEnounUS /ˈlændskeɪp/
an expanse of scenery that can be seen in a single view
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
a characteristic state or mode of living
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
has a good chance of being the case or of coming about
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
plural of “line” — a formation of people or things one beside another
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
characterized by grandeur
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
used to say something is possible, or to give permission
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
(comparative of “much” used with mass nouns) a quantifier meaning greater in size or amount or extent or degree
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
used to make a word, phrase, or sentence negative
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
belonging to, or connected with, somebody or something
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
many times at short intervals
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
touching and supported by a surface
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
used to mean any person in general, including the speaker
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
used to join alternatives or possibilities
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
not the same one or ones already mentioned or implied
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
plural of “picture” — a visual representation (of an object or scene or person or abstraction) produced on a surface
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
have the will and intention to carry out some action
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
just preceding something else in time or order
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
principlesnounUS /ˈprɪnsəpəlz/
plural of “principle” — a basic generalization that is accepted as true and that can be used as a basis for reasoning or conduct
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
bring forth or yield
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
RaphaelnounUS /ˌrɑːfaɪˈel/
Italian painter whose many paintings exemplify the ideals of the High Renaissance (1483-1520)
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
being or occurring in fact or actuality; having verified existence; not illusory
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
repetitionnounUS /ˌrepəˈtɪʃən/
an event that repeats
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
representverbUS /ˌreprɪˈzent/
take the place of or be parallel or equivalent to
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
rhythmicallyadverbUS /ˈrɪðmɪkli/
in a rhythmic manner
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
a principle or condition that customarily governs behavior
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
Identical; not different.
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
express in words
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
the place where some action occurs
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
perceive by sight or have the power to perceive by sight
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
inflected form of “see” — perceive by sight or have the power to perceive by sight
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
having few parts; not complex or complicated or involved
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
SixteenthadjectiveUS /sɪkˈstiːnθ/
coming next after the fifteenth in position
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
an ability that has been acquired by training
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
on certain occasions or in certain cases but not always
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
a category of things distinguished by some common characteristic or quality
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
splendornounUS /ˈsplen.dər/
Magnificent and splendid appearance; grandeur and brilliance.
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
not in physical motion
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
of the kind already mentioned
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
surroundingsnounUS /sərˈaʊndɪŋz/
the environmental condition
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
used to introduce what somebody said, thought, or felt
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
belonging to the people or things already mentioned
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
the people or things already mentioned, as the object
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
used for a person or thing that is near, or that has just been mentioned
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
used before the base form of a verb to make the infinitive
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
being or moving higher in position or greater in some value; being above a former position or level
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
uponprepositionUS /əˈpɑːn/
a formal word for “on”
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
how something is done or how it happens
From this reading The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor.
the speaker together with one or more other people
From this reading THE CLASSIC LANDSCAPE We have seen in the previous chapters how Raphael built up composition from a simple geometric plan, on the principles of repetition and contrast, rhythmically balanced.
used to ask for information about something
From this reading It is distinguished by being what we may call “formal,” or “conventional.”
in the company of; together with
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
past form of “work” — exert oneself by doing mental or physical work for a purpose or out of necessity
From this reading Other Italian artists worked upon the same lines, and with such skill and grandeur of invention that the Italian pictures, especially of the Sixteenth Century, are still considered the finest examples of this sort of composition.
used for something imagined, polite, or habitual in the past
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
the person or people being spoken to
From this reading The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention.
